“The Majestics”

Singing, impersonations and comic dialogue.

Fred Irwin, the first burlesque producer to exhibit sufficient nerve to gamble a small fortune on the possibilities of "better burlesque," eventually encouraging his associates through his initial season's success to follow his example, is represented at the Columbia this week with his "Majestics," the organization that will be recorded in burlesque history and the pioneer of the reform movement. And considering the progressiveness displayed by his competitive producing partners, Mr. Irwin has kept well up with the leaders in his current season's edition of "The Majestics," for in every individual department the show registers far beyond expectations. One might conclude Margaret Bennett, who is credited with having staged the numbers, has overdone the grouping, for in practically every possible instance Miss Bennett, who is credited with having staged the numbers, has overdone the grouping, for in practically every possible instance Miss Bennett, who is credited with having staged the numbers, has overdone the grouping, for in practically every possible instance Miss Bennett has assembled the entire company to form an inactive picture. This could be supplanted in several cases with some appropriate action, for the the awkwardness of this arrangement is too evident to escape notice. And the numbers themselves could be improved on through the addition of some popular airs, for the encores were mighty few and justly so. The comedy division is headed by Elmer Tenley in his familiar exaggerated Celtic character to which John Sherry played opposite. The surprise of the show was Mr. Sherry in one of the quaintest yet most original make-ups on record. Sherry impersonated a pugilist in the opener and a barber in the afterpiece, scoring equally well in both efforts. His talk was natural of the type, straight to the point and none too well polished, though wholly clean. His delivery was typical of the character and on the whole he balanced the comedy wheel to a nicety, never monopolizing the center, yet always carrying the bulk of ttention toward his direction. Clay Grant, ex-cartoonist, was somewhat miscast in a German comedy role, but did well, notwithstanding. Paul Cunningham was the "straight" full of "pep" and a splendid "feeder" for the comedy line. Emanuel List contributed some fine singing and Jere Mandy, in a Chaplin impersonation, temporarily stopped proceedings with his "bit." A rather refined specialty entailing an imitation of Eltinge was offered by one Francis Murphy, who shows promise as a female impersonator, although just how anyone named Murphy could conscientiously don a petticoat is somewhat of a perplexing problem. Miss Bennett is the female lead with Virginia Irwin and the Xela Sisters her chief support. Miss Irwin was particularly good and led several numbers to surprising results. This youngster is naturally talented with an abundance of personality that could be far better developed beyond burlesque atmosphere and will bear watching. The production is up to the Irwin standard with a continual flash and a series of good scenic effects, combining with the excellent comedy to comprise a real burlesque show from every angle.

Variety, 40:12 (11/19/1915)